Frankenstein Must Be Destroyed

Hooray! Here's another entry in the highly amusing Hammer Frankenstein franchise. Don't ever ask me to pick a 'best' or even favorite in this series because I instantly love every episode I can get my dirty little hands on :) And this fifth chapter is a true highlight as it has our Baron Frankenstein more and more evolving into a ruthless, cold villain. He blackmails a young couple; forcing them to assist him with his diabolical experiments (only he sees it as simple scientific evolution). Along with his new accomplices, Baron F. kidnaps a fellow mad scientist out of the asylum because he knows the skills to perform a flawless brain transplant. Unfortunately, Frankenstein's mad raving colleague has been drugged so much he now is a complete vegetable. Ingenious as he is, evil Victor transplants a few brains and commits a few murders to finally have the things the way he wants.

After 4 prequels, numberless others adaptations and several novels, Hammer Productions (and class-A director Terence Fisher in particular) still manages to present the Frankenstein films as original and innovative horror adventures. It's remarkable how Cushing and Fisher completely shifted the initial horror from Frankenstein's monster to Baron Frankenstein himself! In this film, the creature is a pathetic 'victim' while it's Cushing who's the criminal mastermind. Needless to say that Cushing is absolutely powerful in his loyal role of the Baron. He's actually so good in preaching his medical ambitions that you often sympathize with him, even though you witness with your own eyes he's bad to the bone! Cushing receives excellent feedback from the young actor Simon Ward and the exquisite Veronica Carlson. 'Frankenstein must be Destroyed' is an intriguing horror film for some other reason as well. Fisher inserts a healthy dose of Romanticism in this episode plus it's also one of the first Hammer films that feature the sexual content and undertones they'll use more and more in their 70's films. Hammer's popularity tempered a bit during the late 60's/ early 70's and they tried to make up for this by showing more ravishing meat (Carlson's cleavage) and sexual insinuations. In short, Frankenstein must be destroyed is essential horror viewing! It has loads of tension and exciting sequences, the film is professionally made, well-acted and it features a fair amount of bloodshed.

Peter Cushing will always be THE final word on the role of Baron Frankenstein. Cunning, arrogant, relentless and above all else,charming. It could also be said that Terence Fisher is the final word on not only directing Hammer's Frankenstein series but Hammer films in general. This is not a new theory by any stretch regarding Fisher. His was the style by which all who played for Hammer's team would in some way emulate. It is no surprise, therefore, that FRANKENSTEIN MUST BE DESTROYED would be so good. Both actor and director had become pretty familiar with this material but rather than go through the motions something high above the expectation mark occurs. A good script certainly helps and indeed this time around there is. It is the relished performance of Peter Cushing and the carefully executed direction of Fisher which gives this film it's tasty Gothic flavor. Never seen a Hammer film? Here's your chance to sink your teeth into a good one.

This is easily my favorite Frankenstein film, and one of my favorite Hammer films. The acting, lead by Peter Cushing, can't be any better; Simon Ward, Maxine Audley, and Freddie Jones deserve special comment in this regard. (There is little point in praising Cushing as Frankenstein; he plays it with such depth and understanding that the role is his and always will be! I can't use any superlatives here that haven't already been used for Cushing's Baron.) And for once, a Frankenstein movie really gets to the key point Mary Shelley is making - by leaving the monster out entirely! Terence Fisher's direction doesn't miss a cue; with the conventionalization of the monster gone, Fisher can take the movie in new, unexpected directions, and does so with the steady hand of a master director. An unqualified success for all involved!

This is one of the most vigorous of the Hammer productions and features Peter Cushing being uncharacteristically nasty. Even though some of his transplant theories have a certain logic he remains mean and unpleasant throughout with the (again uncharacteristic) rape scene adding icing to the already surprisingly (and ironically) nihilist cake. All the rest of Cushing's violence is aimed at 'getting the job done' but the rape, preceded by it's sexy build is a seeming sideswipe justified simply because in the temporary absence of his fiancée he could. Well dressed, surprisingly well paced and eventful. Not your ponderous Hammer production at all, rather as if its some impostor. Well worth catching.

In order to continue his experiments, the Baron blackmails a young couple into helping him abduct Dr Brandt (a brilliant brain surgeon gone mad) from the lunatic asylum so that he can operate on him, cure his sanity and transplant the brain into another body. This he does by kidnapping and murdering Professor Richter and using the body to house Brandt's brain. This he does because he wants to learn Brandt's knowledge of brain transplants. However, when Brandt wakes up he escapes and plots revenge against Frankenstein.

The fifth Hammer Frankenstein presents the Baron as a totally irredeemable character, a cold calculating psychopath who will stop at nothing to get what he wants, even if it means destroying the young couple in the process. Cushing plays with his usual conviction and is aided by a reliable supporting cast including Simon Ward (in his first film appearance), Veronica Carlson and Freddie Jones as the creature. The direction of Terence Fisher is accomplished as is the lighting of Arthur Grant.